'■sS'Sa 


V. .  B.  PRESCOTT  HUBERT  K  CARNABY 
JAMES  M  LYNCH,  ex  ofiicio 
C '.-xn*r.issi:»r <si  s 


iCZiSE,  Qref  Instructor 


The  I.  T.  U. 

COURSE  OF  INSTRUCTION 
IN  PRINTING 

Conducted  by  the  Inland  Printer  Technical 
School  under  the  direction  of  the  I.  T.  U.  Com¬ 
mission  on  Supplemental  Trade  Education. 

I  Teaching  the  principles  underlying  good 
typography  by  the  most  efficient  methods.  II.  It 
is  given  to  students  for  less  than  actual  cost, 
being  endowed  by  the  International  Typograph¬ 
ical  Union,  which  offers  the  Course  as  one  of 
its  contributions  to  greater  industrial  efficiency. 


The  Course  prepares  the  compositor  for  the  best  work  of 
to-day  and  to-morrow; 

Is  logically  arranged,  and  begins  with  making  the  real 
tools  of  the  printer  —  letters; 

Shows,  through  a  study  of  the  principles  of  design,  the 
“HOW”  and  “WHY”  of  display  work; 

Equips  compositors  to  do  the  work  of  the  designer,  in¬ 
suring  better  results,  as  the  ability  to  design  and  exe¬ 
cute  are  thus  co-ordinated  in  one  person ; 

Elucidates  color  harmony  in  a  scientific  though  simple 
manner  by  a  printer  for  printers; 

Gives  thorough  training  in  all  descriptions  of  display  and 
decorative  typography  after  the  student  has  been 
drilled  in  underlying  principles,  which  he  applies  to 
his  work,  —  thereby  becoming  his  own  production,  not 
an  imitation  of  some  other  compositor’s  work; 

Is  imparted  by  a  universally  commended  system  of  cor¬ 
respondence  which  insures  close  personal  attention  not 
possible  by  the  class  method  of  instruction ; 

Insures  a  graduate  the  best  advice  on  trade  problems  as 
long  as  he  remains  at  the  trade. 


The  price  till  September  I,  1909,  is  $20.00 — 5  per  cent  off  for  cash,  or  $5.00  down  and  $5.00 
every  four  weeks  till  paid.  On  and  after  September  1,  1909,  the  cost  will  be  $25.00 — $23.00 
for  spot  cash,  or  $2.00  down  and  $1.00  a  week  till  paid.  The  increase  was  authorized 
because  a  year’s  experience  had  shown  that  the  smaller  fee  did  not  cover  the  cost  of  tuition, 
postage,  outfit,  etc.  There  are  no  extras  or  books  to  buy — the  outfit  is  complete,  and  on  its 
receipt  the  student  can  immediately  commence  on  his  work.  Each  student  who  finishes  the 
Course  with  ordinary  intelligence  and  diligence  receives  a  prize  or  rebate  of  $5  from  the 
International  Typographical  Union. 


THE  STUDY  OF  COLOR  HARMONY 


HE  COMPOSITOR  who  does,  or  aspires  to 
do,  display  or  decorative  work  should  under¬ 
stand  color  harmony,  as  from  the  standpoint  of 
the  printer  black  and  white  is  colorwork.  In 
the  printing  office  “color”  has  been  regarded 
as  being  entirely  a  matter  of  personal  taste. 
This  puts  the  printer  at  a  disadvantage  when  dealing  with 
those  who  have  a  knowledge  of  color  and  know  it  to  be  a 
scientific  study,  reduced 
to  such  exactness  that  it  is 
spoken  of  in  mathematical 
terms.  Personal  taste  is 
and  always  will  be  a  fac¬ 
tor,  but  there  is  a  great 
deal  concerning  the  sub¬ 
ject  that  can  be  taught  and 
which  is  of  inestimable 
value  to  the  compositor. 

This  knowledge  is  im¬ 
parted  in  the  most  efficient 
manner  in  the  I.  T.  U. 

Course  —  by  information 
on  light  and  color,  by 
answering  questions  (one 
never  really  knows  a  thing 
till  he  tells  it  to  others)  and 
by  work  on  a  color  chart, 
through  which  the  student 
makes  for  himself  an  abso¬ 
lute  authority  on  the  har¬ 
monies,  the  contrasts  and 
the  complementsof  colors. 

Mr.  C.  S.  Roray,  of 
Philadelphia,  Pa.,  an  ac¬ 
complished  printer,  writes 
as  follows  on  this  phase  of 
I.  T.  U.  instruction: 

“1  have  read  much  on  the 
subject  of  color  and  light,  but 
never  before  have  1  come 
across  so  concise  and  system¬ 
atic  a  treatment  of  those  sub¬ 
jects,  accompanied  by  dia¬ 
grams  of  so  extraordinary 
aptness,  as  I  find  in  the  I.T.  U. 

Course  lesson  papers  on  color. 

The  diagrams  are  so  simple 
and  illuminating  that  they  are 
a  most  effective  aid  to  memory.  You  have  set  forth  clearly  in  a  few 
pages  what  it  would  take  a  long  and  weary  study  of  text-books  to  learn.” 

If  the  gentleman  had  read  text-books  on  lettering  or  design 
he  would  have  expressed  the  same  opinion  of  our  lessons  on 
these  subjects,  because  clarity  and  the  illuminating  quality  of 
the  lessons  are  marked  features  of  the  I.  T.  U.  Course.  Mr. 
Roray  has  read  text-books  on  color  written  by  artists,  and 
often  written  for  the  purpose  of  demonstrating  some  abstruse 
theory  in  color.  In  doing  so  each  writer  of  the  several  books 
overlooked  certain  simple  propositions;  it  would  be  a  waste 
of  time  and  space  to  present  them  to  the  readers  he  hoped 
his  book  would  reach.  But  if  they  are  simple  and  a  matter- 
of-course  among  artists,  they  are  also  fundamental,  and 


therefore  a  prime  necessity  to  the  artisan  studying  color.  The 
lessons  of  the  1. 1  .  U.  Course  were  written  by  a  printer  for 
printers  —  by  one  who  understands  from  self-knowledge  the 
limitations  of  his  fellow  craftsmen.  From  experience  he 
knew  what  they  ought  to  learn,  what  they  wanted  to  learn, 
and  he  set  it  down  in  the  language  of  a  compositor  in  the 
easily  understood  manner  of  one  who  has  a  talent  for  instruct¬ 
ing  others.  1  hese  are  the  reasons  why  Mr.  Roray  finds  the 

comparatively  short  les¬ 
sons  of  the  Course  of  so 
much  more  value  than  the 
more  pretentious  works  he 
has  spent  days  and  weeks 
poring  over  in  his  quest  for 
color  knowledge  which  he 
could  apply  to  his  daily 
work  as  a  compositor. 

The  half-tone  on  this 
page  and  the  color  repro¬ 
duction  on  the  opposite 
page  are  given  for  the  pur¬ 
pose  of  showing  the  value 
of  a  scientific  knowledge 
of  color.  It  is  the  work  of 
F.  J.  Trezise,  chief  in¬ 
structor  of  the  I.  T.  U. 
Course,  who  also  wrote 
all  but  two  of  the  lessons. 
At  the  time  it  was  de¬ 
signed  and  lettered  Mr. 
Trezise  was  in  Florida. 
He  sent  his  drawing  to  the 
office  in  Chicago  to  be 
printed.  On  it,  in  a  few 
words,  he  gave  instruc¬ 
tions  concerning  his  color 
scheme  to  the  photoen¬ 
graver  and  the  pressman. 
1  hese  instructions  can  all 
be  found  on  the  accom¬ 
panying  half-tone.  The 
engraver  and  pressman 
consulted  the  I.  T.  U. 
color  chart  and  got  the 
exact  results  the  designer 
wanted.  It  is  possible  a 
happier  combination  of  colors  could  be  found — that  lies  with 
the  designer.  The  point  we  wish  to  make  is  that  by  scientific 
training  the  designer  was  able  to  convey  to  the  pressman  and 
others  exactly  the  color  setting  he  desired,  and  that  by  con¬ 
sulting  the  chart  both  designer  and  pressman  were  able  to 
reach  the  desired  results  with  the  minimum  of  more  or  less 
costly  experimentation. 

Many  a  finely  conceived  piece  of  colored  typography  is 
slurred  in  execution  owing  to  the  time  employed  and  the 
patience  exhausted  in  experimenting  first  with  water-color, 
oil  or  other  medium,  and  then  with  ink.  This  is  especially 
true  when  the  artisans  possess  no  well-ordered  knowledge  of 
(Continued  on  Page  14) 


u  loti?  is  mu  (fiuardinn  l 
MtiOTl;  D  snail  not.fail  \ 
(I  She  leadtlh  me  along  iT 
the  quiet  paths  to  pearc;  fJ 
she  rontenteth  me  bu  heir v' 
Suieetoresenre  (JSfie 
mahetfi  me  to  do  deeds 
,  —  •  I  of  tuorthfor  tiirtues 
sake  (T  (Though  ojt  fl  stumble  and 
grope  blimllu  through  the  pitfalls 
ot  life  B  shall  jeor  not  failure,  for 
she  is  niy  refuge:  her  gentle  hand 
shall  sustain  me:  her  Smile  and  her 
presente  shall  cheer  me,- her  (mice 
shall  be  as  balm  to  my  heart  CI§  fie 
shnuieth  me  all  the  beauties  of  the 

adnu  and  night:  she  maketh  of  mark  a 
ire,  of  lifting  a  jou.gf  earth  a 
ise  C  §urelu  her  beauty  and 
charity  shall  abide  uiith  me  all  the 
days  of  my  life,  and  0  shall  dwell 
in  the  sanctuary  of  her  heart  foreher 

0 (inborn  Dirhirtson  Prflll 


OJa* 


*(■  it 
+cd~> 


Ti 


Page  I  wo 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/itucourseofinstrOOinte 


LETTERING  NOT  HARD  TO  LEARN 


HESE  cuts  demonstrate  that  lettering  is  not  be¬ 
yond  the  reach  of  compositors,  as  many  believe. 
Fig.  1  is  the  work  of  a  student  forty-five  years 
of  age  whose  first  lessons  were  crude;  the  in¬ 
structors  feared  he  would  be  the  exception  to  the 
rule  that  “any  one  who  can  write  can  learn  how 
to  letter.”  Yet  this  is  his  ninth  lesson.  He  had  received, 
however,  some  instruction  in  design  before  taking  the  I.  T.  U. 
Course.  Figure  2  is  the  work  of  a  student  whose  history 


after  a  few  days  obtained  employment  in  an  office,  doing 
most  of  his  student  work  in  his  spare  time.  In  a  month  to  a 
day  from  his  first  appearance  this  young  man  who  “never 
could  draw”  sent  in  Fig.  2  as  his  ninth  lesson.  Here  the 
Course  helped  a  man  to  find  himself — to  use  powers  that 
would  otherwise  be  wasted. 

More  important  still  is  how  this  affected  the  student. 
That  he  could  sketch  and  letter  such  a  page  gave  him  the 
vital  quality — confidence.  He  knew  he  knew  something 


stained 

©ass 

(Mows 


; 


®li6  iraiec&Benson  Co. 
Jra-tfoni 


i 

i 
i 


m 


SM 

(8m 
lams 


Kfe&Bfnson 

Co-Rraittorh 


im 


jg 


Fig.  I. 


Fig.  2. 


approximates  that  of  the  average  printer.  A  young  man, 
served  time  on  a  country  paper,  and  worked  on  straight 
matter  in  Chicago  offices.  About  the  time  that  the  Course 
was  launched  he  called  on  the  Commission.  When  told  of 
lettering,  he  was  sure  he  couldn’t  do  it — had  never  been  a 
success  at  “drawing”  in  school  days.  This  square-chinned 
youth  was  not  so  positive  of  anything  as  that  he  could 
not  master  lettering.  He  happened  to  be  idle  that  week  and 
the  Commission  had  to  secure  students,  but  the  prospect  was 
obdurate.  Finally  Chairman  McQuilkin  offered  to  engage 
him  at  the  scale  as  a  student — that  is,  he  would  be  paid  if  he 
was  dissatisfied  or  did  not  succeed.  He  tried  it  out,  and 


about  the  printing  business.  To  use  his  words  “I  am  looking 
for  jobs  in  the  office  I  would  run  away  from  before  taking  the 
Course.”  Another  significant  incident  in  connection  with 
this  student’s  work  is  that  a  Chicago  employer,  seeing  the 
lesson,  said  it  was  evidently  the  work  of  a  man  with  ideas — 
the  sort  he  was  looking  for  in  his  jobroom. 

So  here  we  have  an  apt  illustration  of  what  the  Course  is 
doing  every  day:  Developing  latent  ability,  giving  the  com¬ 
positor  confidence,  widening  the  sphere  of  his  usefulness, 
increasing  his  earning  capacity,  and  convincing  progressive 
employers  of  the  need  of  engaging  a  man  who  studies,  has 
ideas  and  sufficient  assurance  to  express  them  in  his  work. 


Page  Four 


AGE  NO  BAR  TO  STUDY  OF  COURSE 


ANY  are  laboring  under  the  erroneous  impres¬ 
sion  that  the  Course  is  of  value  to  the  young 
only.  This  is  due  largely  to  the  fact  that  all 
discussions  of  education  within  the  Union  have 
been  prompted  by  a  desire  to  do  something  for 
apprentices.  Another  contributing  factor  is  the 
popular  belief  that  after  a  man  has  passed  a  certain  age  he 
can  not  acquire  knowledge.  In  the  professions  men  keep  on 


fession  than  a  trade.  And  when  a  man  reaches  the  place 
where  he  can  not  learn  any  more  he  must  be  content  to  fall 
behind  in  the  race. 

The  Course  is  not  beyond  the  reach  of  old  printers.  There 
are  more  students  who  have  passed  the  fortieth  mile-post 
than  there  are  under  twenty  years  of  age.  As  it  requires  so 
much  manual  work,  lettering  is  the  most  trying  subject  in  the 
Course  for  elderly  men  — yet  they  accomplish  it  successfully. 


Yard.Vest  Rlmyra.  Orders  received  at  22.7WBroadSt.  Local  and  Long  DlstanceTelcpIiones.Terms  Cask 


L.  A.WEIKM  AN 

Ice,  Coal, ^C6od,  Feed,  Straw 
Ha^  &.  Agent  for  Otto  Coke 

Our  aim  is  to  please  you 


Palmyra,  N.J. 


_  190- 


growing  mentally  while  their  physical  powers  remain ;  the 
age-limit  is  not  a  sad  fact  in  those  callings.  Some  one  has 
said  the  difference  between  a  trade  and  a  profession  lies  in 
the  fact  that  one  is  learned  within  a  set  period  and  the  other 
requires  continual  study.  On  that  basis  hand  composition 
of  to-day  and  to-morrow  more  nearly  approximates  a  pro- 


The  accompanying  letter-head  and  piece  of  verse  are 
samples  of  the  work  of  a  compositor  59  years  of  age,  who 
had  no  instruction  or  experience  in  lettering  before  taking  the 
Course.  Starting  in  January,  in  July  this  student  wrote 
saying  several  firms  had  placed  their  printing  in  his  hands  and 
asking  if  $  1  5  was  too  much  for  lettering  a  letter-head. 


WHYspeak  of  the  scythe  and  the  hourglass, 
As  the  bards  so  long*  have  sung? 
"Why  should  we  notice  howTTme  may  pass, 
So  long  as  the  soul  is  young? 

Let  wrinkles  come  and  the  head  grow  gray 
It’s  never  a  cause  for  tears, 

For  Methuselah  hoped  and  laughed,  no  doubt, 
"When  he  had  nine  hundred  years. 


Page  Five 


AN  EXAMPLE  OF  PRACTICAL  WORK 


\URING  June,  1908,  a  printer  of  twenty-one 
years’  experience  at  the  business  and  receiving 
about  twenty  per  cent  above  the  scale,  wrote 
the  I.  T.  U.  Commission  asking :  “Why  should 
I  take  a  course  of  instruction  that  is  not  of  prac¬ 
tical  value  to  me  in  my  present  position  ?  1  be¬ 

lieve  the  Course  is  a  good  thing  for  the  apprentice  or  for  the 
man  who  is  always  the  first  to  be  laid  off,  and  it  should  be 


a  craftsman,  and  so  he  devised  letters  which  would  leave  an 
impress  on  the  eye,  and  his  typographic  sense  told  him  how 
to  mass  his  lines  most  effectively ;  on  the  other  hand,  the  pro¬ 
fessional  ietterer,  desirous  of  showing  that  he  was  an  artist, 
sought  to  demonstrate  it  in  the  formation  of  his  letters. 

It  was  this  overweening  desire  that  caused  him  to  make 
the  letter  R  we  find  in  “Wood-Worker,”  and  his  straining 
for  artistic  effects  is  responsible  for  such  atrocities  as  the 


The  Wood-Worker 

A  JOURNAL  FOR 

MACHINE  WOOD -WORKERS. 


Fig.  1  .—A  heading  presumably  lettered  and  designed  by  a  commercial  artist. 


a  very  good  thing  for  the  man  who  is  in  business  on  his  own 
account.”  The  reply  was  necessarily  more  or  less  personal 
in  its  application,  and  its  reproduction  here  is  undesirable, 
but  it  induced  the  enquirer  to  enroll  within  a  few  weeks. 

The  cuts  on  this  page  show  the  great  advantage  the 


letters  A  and  N  as  they  appear  in  the  words  “Journal”  and 
“Machine.” 

This  example  serves  to  corroborate  the  compliment  of  a 
gentleman  who  had  paid  a  great  deal  of  attention  to  edu¬ 
cation  and  fine  printing,  when  he  said  that  a  thousand  com- 


C - 

— j 

The  Woodworker 

i 

I  A  JOURNAL  FOR  MACHINE  WOOD-WORKERS 

i 

Fig.  2. — The  work  of  a  printer  who  had  serious  doubts  about  the  value  of  the  Course  to  efficient  compositors. 


Course  was  to  this  man  and  also  demonstrate  how  effectively 
the  printer  can  compete  with  the  commercial  artist  and 
designer  when  he  understands  the  principles  and  methods 
employed  by  those  who  are  encroaching  on  his  field  and 
dictating  to  the  compositor  as  to  how  he  shall  do  his  work. 

Fig.  I  shows  a  cut  presumably  lettered  and  designed  by 
a  commercial  artist.  Fig.  2  is  a  reduction  of  the  work  of 
the  printer  who  had  such  serious  doubts  about  the  value  of 
the  Course  to  efficient  compositors.  Mark  the  superiority 
of  the  printer’s  work.  The  design  is  suggestive  of  the 
subject  and  the  lettering  excellent  in  forcefulness  and  carry¬ 
ing  power.  The  printer  did  not  pretend  to  be  an  artist  but 


positors  with  a  knowledge  of  lettering  at  their  fingers’  ends 
would  do  more  to  improve  the  appearance  of  the  printed 
page  than  a  hundred  generations  of  artists.  The  reason  for 
this  is  that  lettering  is  too  frequently  an  incident  with  the 
artist,  but  with  printers  it  is  an  ultimate.  The  last  mentioned 
have  been  handling  letters  and  thinking  about  them  all  their 
lives,  thereby  acquiring  a  lot  of  sub-conscious  knowledge 
concerning  the  subject  that  comes  to  their  aid  in  a  wonderful 
manner  when  they  acquire  manual  dexterity  with  the  tools 
of  the  Ietterer.  This  is  not  an  isolated  case.  The  majority 
of  students  who  take  an  interest  in  lettering  make  remarkable 
progress  as  compared  with  the  average  art-class  student. 


Page  Six 


STUDENTS  DO  DISTINCTIVE  WORK 


HAT  the  I.  T.  U.  Course  of  Instruction  in 
Printing  fits  the  ambitious  student  to  do  lettering 
and  design  of  a  distinctive  character  the  accom¬ 
panying  title-page  reproduction  will  amply 
demonstrate.  Chaste  and  refined  in  lettering 
and  decora¬ 
tion,  it  bears  all  the  evi¬ 
dence  of  a  careful  adher¬ 
ence  to  the  fundamental 
principles  taught  in  the 
Course.  The  original  was 
a  student’s  solution  of  one 
of  the  lessons  on  lettering. 

Where  something  of  a 
high-class  nature  is  called 
for,  and  the  stiff,  inflexible 
type  fails  to  furnish  the 
desired  artistic  appear¬ 
ance,  then  it  is  that  the 
hand-lettering  comes  into 
play.  That  its  use  is  daily 
increasing  no  one  denies. 

With  the  cheapening  of 
the  reproductive  pictorial 
processes,  more  and  more 
work  of  that  character 
will  be  done.  The  always- 
growing  esthetic  taste  of 
the  public  will  demand 
that  the  principal  lines  on 
a  page  shall  conform  to 
the  subject  of  the  illustra¬ 
tion.  It  is  the  place  of  the 
printer  to  meet  this  de¬ 
mand,  which  means  a  still 
greater  demand  for  the 
paying  kind  of  printing. 

To  enable  him  to  do  this, 
hand-lettering  has  been 
made  part  of  the  Course. 

This  decoration  is  the 
student’s  product,  and  it 
illustrates  what  is  a  com¬ 
mon  occurrence — that  of 
students  falling  into  the 
habit  of  making  simple 
decorations.  The  Course 
does  not  undertake  to 
teach  that  sort  of  thing 
directly,  for  it  does  relate 
to  art  —  unlike  lettering 
and  typographical  design, 
which  are  craftsmanship 
and  can  be  developed  in 
artistic  natures  only.  But 
the  lessons  do  stimulate 
thought  along  right  lines,  and  those  compositors  who  happen 
to  be  well  endowed  logically  become  makers  of  typographical 
ornaments.  Thus  the  Course  opens  the  door  to  higher  oppor¬ 


tunities,  and  the  future  promises  much  for  compositors 
capable  of  doing  this  class  of  work. 

The  usefulness  of  lettering  in  small  and  illy  equipped 
offices  is  but  little  understood.  The  evil  effect  of  a  scarcity 
of  a  variety  of  display  type  can  be  minimized  by  an  occa¬ 


sional  lettered  line,  or  a  simple  ornament  may  produce  a 
more  pleasing  effect  than  the  rigid  and  conventional,  though 
mathematically  exact  product  of  the  foundry. 


A  BOOK  ON 

PRINTING 

CHARLES  EATON  SMITH 


CHICAGO 
THE  EMPIRE  PRESS 

1 9°7 


Page  Seven 


LETTERING  LEADS  TO  DECORATION 


Illustrative  of  decorative  touch  acquired  by  student. 


TUDENTS 

who  do  let¬ 
tering  natur¬ 
ally  drift  into 
the  drawing 
of  decorative 
designs.  In  lettering  a  page 
the  student  feels  the  need 
of  a  spot  of  ornamentation 
for  some  particular  pur¬ 
pose,  and,  although  before 
taking  up  the  study  of 
lettering  he  would  never 
dream  of  trying  to  do 
work  of  this  kind,  the  con- 
fidence  gained  in  the 
drawing  of  letters  gives 
him  courage  to  attempt 
the  ornamental  design. 
The  reproduction  shown 
herewith  illustrates  this 
point.  The  student,  in¬ 
stead  of  using  an  inappro¬ 
priate  stock  design  or  en¬ 
tirely  omitting  decoration, 
essays  something  original. 
While  these  first  efforts 
are,  of  course,  elementary 
from  the  standpoint  of  art, 
many  of  the  students  gain 
considerable  proficiency 
in  this  line  by  the  time  they 
have  completed  the  list  of 
lessons. 


THE  LOW  PRICE 
OFTHE COURSE 

A  fortuitous  combina¬ 
tion  of  circumstances 
made  it  possible  for  the 
Inland  Printer  Technical 
School  and  International 
Typographical  Union  to 
enter  into  partnership  for 
the  purpose  of  giving  com¬ 
positors  technical  instruc¬ 
tion  of  a  high  order  for  less 
than  cost.  The  union  de¬ 
frays  all  the  promotional 
expenses  and  gives  a  re¬ 
bate  or  prize  of  $5  to  each 
student  who  finishes  the 
Course  with  ordinary  dili¬ 
gence,  and  the  school  fur¬ 
nishes  the  instruction  at 
approximately  thepriceof 
tuition,  outfit,  etc. 


Page  Eight 


AS  APPLIED  TO  EVERYDAY  WORK 


YPOGRAPHY  being  a  progressive  craft,  the 
I.  T.  U.  Commission  determined  that  the  system 
of  education  adopted  should  be  of  such  char¬ 
acter  as  to  increase  the  scope  of  the  composi¬ 
tor’s  field  of  activity.  That  is,  fit  him  for  doing 
more  of  the  work  that  is  completed  in  the  press¬ 
room  and  bindery  and  to  meet  the  demands  of  enterprising 


hibited  lessons  in  the  I.  T.  U.  Course,  which  secured  him  a 
position,  as  they  attested  his  capacity  for  taking  care  of  work 
that  had  heretofore  been  sent  outside.  All  know  that  an 
immense  quantity  of  this  sort  of  work  is  being  done.  Those 
with  an  eye  for  the  fitness  of  things  also  know  that  in  the 
natural  order  it  should  be  part  of  the  printer’s  work.  In  some 
way  or  other  it  is  always  so  closely  associated  with  letterpress 


newspaper  advertisers.  The 
Commission  was  imbued  with 
the  idea  that  there  is  much  latent 
ability  in  composing  rooms  that 
with  a  little  instruction  is  capable 
of  doing  a  vast  portion  of  the 
work  now  going  outside  the 
printing  office. 

The  cuts  on  this  page  are  re¬ 
productions  of  the  practical  work 
of  a  student  who  had  no  experi¬ 
ence  in  lettering  before  taking  the 
Course.  While  the  craftsman¬ 
ship  that  is  displayed  in  the  word 
“Marigold”  is  not  of  a  very  high 
order,  and  far  below  the  stu¬ 
dent’s  best,  still  “professionals” 
sell  poorer  lettering  every  day. 
It,  however,  demonstrates  the 
ability  of  an  ordinary  compositor 
to  do  what  is  usually  sent  to  some 
commercial  artist. 

The  student  incidentally  re¬ 
marked  in  his  correspondence 
that  when  he  sought  work  in  an 
office  a  foreman  suggested  that 
he  make  arrangements  to  take 
instruction  for  a  few  months. 

This  he  declined  to  do  and  ex- 


SMC 


as  to  be  a  part  of  it.  While 
artistic  in  a  sense,  it  is  not  art 
within  the  proper  meaning  of 
that  term.  Newspapers  and 
florid  writers,  as  well  as  the  jar¬ 
gon  of  the  printing  office,  have 
dubbed  it  “art.  ”  This  has  had 
a  wonderful  influence  in  deter¬ 
ring  those  not  divinely  endowed 
from  attempting  anything  in 
that  line. 

The  student  whose  work  ap¬ 
pears  herewith  is  not  especially 
gifted  or  brilliant.  He  has  had 
opportunity  to  display  this  pe¬ 
culiar  knowledge  and  apply  it 
to  every-day  work,  and  only  in 
that  way  differs  from  other  stu¬ 
dents  who  have  gone  as  far  as 
he  has.  Thousands  of  other 
compositors  can  do  so,  if  they 
but  will. 

All  “tasty”  printers  possess 
this  desirable  capacity.  The  I. 
T.  U.  Course  offers  them  the 
opportunity  for  development 
whereby  they  may  use  power 
which  has  hitherto  been  allowed 
to  remain  unutilized. 


Page  Nine 


A  STUDENT’S  LESSON  ON  DESIGN 


TKotttAJ  OULLS  to  i-tiXtxt  0**-  O. 

iW  U  m  ,  a*bt  tit.  tna+O 

li*n^  tahmot  t 

*/j*L 


tJL, 


f 


The  above  diagram  shows  a  student’s  working  out  of  the  problems  given  in  Lesson  1  1  of  the  Course — a  lesson  devoted  to  the  study  of 
proportion.  In  this  case  the  student  has  carefully  written  under  each  of  the  solutions  the  problem  as  taken  from  the  lesson  and,  beginning  with 
No.  I  and  following  to  No.  5,  the  reader  will  note  the  gradual  working  out  of  the  propositions,  from  the  simple  to  the  more  complex. 


Page  Tei 


ON  THE  QUESTION  OF  DESIGNING 


NE  of  the  most  important  features  of  the  Course 
is  its  lessons  on  design.  This  group  of  lessons 
deals  with  fundamental  principles  and  teaches 
the  student  the  elements  of  good  design —  not  a 
superficial  cleverness  in  typographical  design, 
but  an  understanding  of  the  basis  of  all  good 
design,  typographical  or  otherwise.  In  these  lessons  the 
student  approaches  the  question  of  design  from  a  standpoint 


concerned,  all  design  is  alike,  and  that  the  student  who  has 
mastered  these  principles  or  rules  has  the  foundation  upon 
which  to  build  all  classes  of  typography. 

Perhaps  the  most  important  and  interesting  lesson  in  this 
group  is  that  devoted  to  the  arrangement  of  lines  and  masses, 
or  the  sketching  out  of  designs.  This  making  of  simple 
sketches  is  a  thing  neglected  by  all  too  many  printers.  A 
greater  variety  of  design  can  be  attained  by  this  method  than 


Fig.  I . — Suggestive  sketches  for  business  card  designs,  showing  arrangements  in  lines  and  masses. 
Figs.  2-10  show  business  cards  set  up  from  these  sketches. 


new  to  most  printers.  The  printer  ordinarily  thinks  of  separate 
kinds  of  design  for  different  classes  of  work — letter-head 
designing,  for  instance,  as  different  from  cover  or  title-page 
designing.  The  lessons  of  the  I.  T.  U.  Course  lay  particular 
stress  upon  the  fact  that,  as  far  as  principles  or  rules  are 


by  any  other  way.  To  illustrate  the  manner  in  which  this 
matter  is  handled  in  the  Course,  we  have  here  taken  the  copy 
for  a  business  card  and  worked  it  out  as  is  done  in  the 
lessons.  We  first  make  one  or  more  sketches  or  outlines, 
similar  to  those  shown  in  Fig.  I ,  giving  suggestions  of  the 


Page  Eleven 


ON  THE  QUESTION  OF  DESIGNING 


Marshall  &  Company 


WE  CARRY  A  COM¬ 
PLETE  LINE  OF 
OFFICE  SUPPLIES 

222  LOOMIS  AV- 
MEU  CHICAGO 


JOHN  R.  MARSHALL 
ROBERT  C.  SMITH 


PRINTERS 

BINDERS 

ENGRAVERS 


Fig.  2. — An  arrangement  filling  the  entire  card  and  using  a  stock  ornament. 


MARSHALL  &  COMPANY 


n 


John  R.  Marshall  Robert  C.  Smith 

PRINTERS,  BINDERS, 
ENGRAVERS  ▼  WE 
CARRY  COMPLETE  LINE 
OF  OFFICE  SUPPLIES 


222  LOOMIS  AVENUE 

CHICAGO 


Fig.  3. — The  rules  on  this  card  serve  to  hold  the  various  groups  together. 


JOHN  R.  MARSHALL 
ROBERT  C.  SMITH 

22  Loomis  Avenue 
Chicago 


IV e  Carry  a  Com¬ 
plete  l.ine  of  Office 
Supplies 


Marshall  &  Company 

Printing  ::  Binding  ::  Eaigraving 


Fig.  4. — Another  arrangement  in  which  a  stock  ornament  is  used  for  decoration. 


type  arrangement.  Unless  the  compositor 
has  in  Lis  mind  a  clear  idea  of  how  his  job 
will  appear  when  finished,  he  should  not 
neglect  this.  If  the  proposition  is  a  com¬ 
paratively  easy  one,  no  sketch  is  necessary; 
but  unless  one  can  clearly  see  in  one’s  mind 
the  effect  of  the  proposed  arrangement,  a 
sketch  of  this  kind  should  be  made.  1  his 
sketch  need  not  be  at  all  elaborate;  just 
a  few  pencil  lines  to  give  a  general  idea. 
In  a  very  few  minutes  the  compositor  can 
make  several  of  these  arrangements  and 
then  choose  the  one  which  is  best  adapted 
to  the  work  in  hand.  Then,  too,  the 
making  of  sketches  of  this  kind  will  assist 
us  in  getting  away  from  the  trouble  which 
we  have  all  experienced  in  setting  a  reprint 
job.  Frequently  the  compositor  is  given 
a  job  and  told  to  reset  it  in  a  different 
manner,  yet,  try  as  he  will  to  avoid  it, 
the  original  design  forces  itself  on  him  and 
he  finds  it  almost  impossible  to  get  any¬ 
thing  radically  different.  The  sketching 
out  of  various  arrangements  for  the  same 
job  is  probably  the  best  means  of  over¬ 
coming  this  trouble. 

In  making  these  sketches  care  should  be 
taken  to  group  the  reading  matter  in  such 
manner  that  there  are  comparatively  few 
“spots”  on  the  card.  Each  spot  or  group 
constitutes  a  force  of  attraction,  and  when 
we  have  too  many  forces  of  attraction  the 
design  becomes  complicated —  a  thing  which 
must  be  avoided  on  a  business  card. 

In  Fig.  I ,  then,  we  have  sketched  six 
different  designs  or  arrangements  for  the  job 
in  hand,  the  question  of  which  of  these 
arrangements  is  the  better  is  largely  a  matter 
of  personal  taste.  For  the  sake  of  illustra¬ 
tion,  all  of  them  have  been  put  into  type, 
together  with  three  other  arrangements,  and 
are  shown  herewith. 

In  these  examples,  what  the  I.  T.  U. 
Course  teaches  as  the  fundamental  prin¬ 
ciples  of  design  —  simplicity,  proportion, 
shape  harmony  and  tone  harmony  —  are 
carefully  adhered  to.  The  display  compo¬ 
sition  of  to-day  bears  evidence  of  careful 
thought  regarding  design  and  the  suitability 
of  type  faces  and  decoration.  Not  in  a  multi¬ 
plicity  of  types,  ornaments,  etc.,  is  good 
printing  formed,  but  rather  in  the  job  con¬ 
taining  few  different  letters  and  ornaments, 
but  those  few  carefully  chosen  and  pro¬ 
perly  used.  The  instruction  given  in  the 
I.  T.  U.  Course  is  practical,  and  the  aim 
throughout  is  to  enable  the  students  to  turn 
out  high-class  printing  that  will  pay  the  em¬ 
ployer  a  profit.  For  this  reason  no  effort 


Page  Twelve 


ON  THE  QUESTION  OF  DESIGNING 


is  made  to  have  students  send  in  unique  and 
bizzare  arrangements,  and  elaborate  type 
designs  involving  an  expenditure  of  time 
that  would  be  prohibitory  in  the  ordinary 
printing  office  are  not  encouraged.  Instead, 
simplicity  of  design  is  the  keynote  of  lessons. 

LISTOFTHE  LESSONS 


In  order  that  the  reader  may  get  a  clear 
idea  of  what  the  various  lessons  in  the 
Course  teach,  a  complete  list  of  the  regular 
lessons  is  given  herewith.  In  addition  to 
these,  two  review  lessons  are  given  after 
half  of  the  lessons  have  been  completed. 
The  study  of  lettering  is  first  taken  up, 
followed  by  design,  color,  commercial  typo¬ 
graphy  and  imposition  in  a  regular  order. 


6  — 

7  — 

8  — 


Lesson 
pencil. 

Lesson 
in  pencil. 

Lesson 
Lesson 
capitals. 

Lesson 
lower-case. 
Lesson 
Lesson 
Lesson 
design. 

Lesson 
design. 

Lesson  1 0  — 
Lesson  1  I  — 
Lesson  1 2  — 
Lesson  1 3  — 
Lesson  1 4  — 
or  arrangements 
Lesson  1  5  — 
Lesson  1  6  — 
Lesson  1  7  — 
Lesson  1 8  — - 
Lesson  1 9  — 
Lesson  20  — ■ 
Lesson  21  — 
Lesson  22  — 
Lesson  23  — 
cards. 

Lesson  24  — 
Lesson  25  — 
Lesson  26  — 
Lesson  27  — 
Lesson  28  — 
Lesson  29  — 
Lesson  30  — 
Lesson  31  — - 
Lesson  32  — 
Lesson  33  — 
Lesson  34  — 
page  forms. 

Lesson  35  — 
teen  page  forms. 

Lesson  36  — 
thirty-two  page 
Lesson  37  — 
machines. 


1  — Lettering:  Roman  capitals  in 


2  —  Lettering:  Roman  lower-case 


Lettering: 
Lettering : 


Italic  in  pencil. 
Inking  in  roman 


5  —  Lettering:  Inking  in  roman 


Lettering:  Inking  in  italic. 
Lettering:  Gothic  alphabets. 
Lettering:  Making  title-page 


9  —  Lettering:  Making  cover-page 


Design :  Balancing  measures. 
Design :  Proportion. 

Design:  Shape  harmony. 
Design:  Tone  harmony. 
Design :  Preliminary  sketches, 
of  lines  and  masses. 

Color  harmony. 

Color  harmony. 

Color  harmony. 

Color  harmony. 

Color  harmony. 

Composition  of  letter-heads. 
Composition  of  bill-heads. 
Composition  of  business  cards. 
Composition  of  envelope  corner 

Composition  of  tickets. 
Composition  of  menus. 
Composition  of  programs. 
Composition  of  cover-pages. 
Composition  of  title-pages. 
Composition  of  advertisements. 
Composition  of  advertisements. 
Lay-outs  of  books  and  booklets. 
Papermaking. 

Platemaking  of  various  kinds. 
Imposition:  Four  and  eight 

Imposition:  Twelve  and  six- 

imposition:  Twenty-four  and 
forms. 

Imposition:  Forms  for  folding 


MARSHALL  COMPANY 

PRINTERS,  BINDERS,  ENGRAVERS  ::  WE 
CARRY  A  COMPLETE  LINE  OF  OFFICE 
SUPPLIES  ::  222  LOOMIS  AVENUE,  CHICAGO 

JOHN  R.  MARSHALL 
ROBERT  C.  SMITH 


Fig.  5. — A  very  simple  design,  pleasingly  placed  on  the  card. 


WE  CARRY  A  COMPLETE  LINE  OF  OFFICE  SUPPLIES 


Marshall  &  Company 

Printers  ::  Binders 
Engravers 


JOHN  R.  MARSHALL 
ROBERT  C.  SMITH 


222  Loomis  Avenue,  Chicago 


Fig.  6. — Another  simple  design,  very  easy  to  set. 


Marshall  &  Company 

RobencMsm,h.h"  Printers  Binders  Engravers 

We  Carry  a  Complete  Line  of  Office  Supplies 

222  Loomis  Avenue,  Chicago 


Fig.  7. — An  arrangement  which  makes  use  of  a  more  pictorial  decoration. 


Page  Thirteen 


ON  THE  QUESTION  OF  DESIGNING 


MARSHALL  &  COMPANY 

JOHN  R. MARSHALL  ROBERT  C.  SMITH 


^  PRINTERS 
BINDE  ELvS 
ENGRAVERS 


WE  CARRYA  COMPLETE 
LINE  OF  OFFICE  SUPPLIES 


22  LGOMIS  AVENUE 

CHICAGO 


F‘g 


.  8. — A  hand-lettered  card.  Note  the  flexibility  of  the  letters  as  compared  with 
type,  especially  in  the  squaring-up  of  the  words  “Printers,  binders,  engravers.” 


JOHN  R.  MARSHALL 


ROBERT  C.  SMITH 


MARSHALL  COMPANY 

PRINTERS...  BINDERS 
ENGRAVERS 


WE  CARRY  A  COMPLETE  LINE  OF 
OFFICE  SUPPLIES 


222  LOOMIS  AVENUE 
CHICAGO 


Fig.  9. — This  may  be  termed  the  conventional  form  of  business  card.  The  arrangement 
is  suitable  for  almost  any  type-face. 


Mars  ball  &  Company^ 

t^oben'cf Vmith  223  Loomis  Avenue,  Chicago 

Printers  ::  Binders  ::  Engravers 

WE  CARRY  A  COMPLETE  LINE  OF  OFFICE  SUPPLIES 


Fig.  10. — The  text  grouped  into  one  panel  and  placed  in  a  pleasing  position  on  the  card. 


THE  STUDY  OF 
COLOR  HARMONY 


(Continued  from  page  2.) 
color  but  are  guided  by  their  native  taste 
and  “picked-up”  knowledge  or  by  the 
rule  of  thumb. 

The  printer  who  knows  nothing  of  color 
harmony  can  get  theory  and  practice  of 
inestimable  value  from  the  Course.  Those 
who  have  done  and  are  doing  colorwork 
in  the  old  style  will  also  gain  as  much  for, 
as  an  educator — Dr.  Kenneth  Mees — has 
said,  “an  ounce  of  accurate  knowledge  is 
worth  a  ton  of  unreasoning  practice.” 

The  I.  T.  U.  Course,  as  every  educa¬ 
tional  effort  should,  looks  to  the  future. 
It  not  only  endeavors  to  fit  the  compositor 
for  the  better  class  of  work  of  the  present 
but  aims  to  equip  him  for  the  profitable 
work  of  to-morrow.  Men  in  their  prime 
have  been  able  to  hold  leadership  among 
their  fellows  with  comparatively  little 
knowledge  of  color  harmony,  but  the  ex¬ 
perience  of  the  last  decade  shows  that  the 
apprentice  of  to-day  will  have  to  be  in  pos¬ 
session  of  much  information  regarding  this 
subject  which  has  heretofore  been  con¬ 
sidered  unnecessary.  There  is  probably 
three  or  four  times  as  much  accurate  color- 
work  done  now  as  there  was  fifteen  years 
ago,  and  the  next  fifteen  years  will  show 
a  greater  increase,  as  a  job  seemingly  has 
“no  class  to  it” — or  perhaps  it  would  be 
better  to  say  it  does  not  appeal  strongly  to 
the  public  eye — unless  it  is  printed  in  two 
or  more  colors.  The  domestic  product 
proves  this  and  the  influence  of  foreign 
printing  tends  to  accelerate  the  demand. 
As  yet  Americans  do  not  excel  in  color- 
work,  but  so  soon  as  the  handicap  is  over¬ 
come — and  it  assuredly  will  be  overcome 
within  a  short  time — the  demand  in  this 
country  will  go  forward  with  leaps  and 
bounds.  If  the  compositor  is  to  hold  his 
own — not  to  become  the  helper  of  the  com¬ 
mercial  artist — he  must  "know  his  color 
harmony.” 

The  most  profitable  printing  is  done  for 
the  purpose  of  advertising,  and  as  adver¬ 
tisers  are  inclined  to  pay  high  prices  if  the 
printers’  work  will  sell  their  goods,  we  may 
be  sure  that  Americans  will  not  long  be 
content  with  any  but  the  best  in  typog¬ 
raphy.  For  these  reasons  the  study  of 
color  harmony  is  of  the  utmost  importance 
to  every  display  printer  who  intends  to  stay 
at  the  business  and  acquit  himself  credit¬ 
ably  and  to  the  advantage  of  his  family. 


Page  Fourteen 


VARIETY  IN  WORK  OF  STUDENTS 


HAT  the  study  of  certain  principles  of  design 
and  color  harmony  would  make  the  work  of  all 
students  alike  has  been  suggested  by  some  who 
have  not  thoroughly  understood  the  scope  of 
the  Course.  Nothing  could  be  farther  from 
the  truth.  Because  students  of  art  are  taught 
principles  of  composition  and  color  harmony  it  does  not  follow 
that  they  must  all  paint  the  same  picture  in  the  same  way ; 
neither  do  all  architects,  because  of  having  studied  certain 
principles  of  architecture,  design  all  buildings  alike.  Nature 
furnishes  to  the  painter  countless  different  compositions,  and 
the  page  furnishes  to  the  printer  countless  opportunities  for 


variety  of  design ;  but  in  either  case,  in  order  to  please  the  eye, 
the  arrangement  must  be  based  on  well-defined  principles. 

As  an  illustration  of  the  fact  that  the  study  of  the  lessons 
and  the  acquiring  of  certain  principles  of  design  do  not  limit 
the  possibilities  for  variation  in  typographical  design,  the 
examples  of  sketches  shown  herewith  are  especially  valuable. 
They  were  sent  in  by  one  of  the  students  as  a  solution  of  one 
of  the  problems  in  Lesson  1  4.  This  problem  calls  for  several 
different  arrangements  of  a  certain  piece  of  copy.  In  this 
particular  instance  six  arrangements  were  sent  in,  and  one  can 
readily  see  that,  although  they  are  all  entirely  different,  still 
any  one  of  them  would,  if  followed  carefully,  even  by  a 
printer  of  very  ordinary  ability,  result  in  a  pleasing  page.  And 
this  represents  only  a  few  arrangements,  by  one  student,  of 


a  given  piece  of  copy.  Scores  of  new  variations  of  design 
for  this  page  are  being  constantly  sent  in  to  the  instruction 
department. 

Instead  of  tending  to  make  the  work  of  all  printers  alike, 
study  along  the  lines  laid  down  in  the  Course  does  just  the 
reverse.  Before  the  printer  bases  his  work  on  well-defined 
principles  of  design  he  looks  upon  each  class  of  work  as  some¬ 
thing  different.  He  knows  a  few  set  forms  for  cover-pages, 
a  few  set  forms  for  business  cards,  etc.,  and  assumes  that 
learning  to  design  cover-pages  means  the  learning  of  new 
forms  or  models.  After  studying  the  basic  principles  under¬ 
lying  all  good  design  he  finds  that  the  need  for  certain  set 


forms  for  certain  classes  of  typography  has  been  done  away 
with,  and  he  no  longer  cares  what  forms  or  arrangements 
others  may  use — he  is  capable  of  originating  and  construct¬ 
ing  forms  of  his  own.  Better  than  this,  he  knows  when  he 
has  them  constructed  properly  and  knows  n>h\)  they  are 
correct.  This  question  of  the  n>h\)  of  things  is  made  much 
of  in  the  Course.  Throughout  all  the  lessons  and  criticism 
no  statements  or  assertions  are  made  that  can  not  be  backed 
up  completely  by  the  reasons  therefor.  Care  has  been  taken 
that  opinions,  no  matter  how  good,  unless  backed  up  by 
scientific  reasons,  shall  have  no  part  in  the  instruction.  Thus 
all  the  tendency  to  dogmatic  assertion,  so  frequently  found 
in  technical  writing  on  typographical  subjects,  is  done  away 
with  and  an  accurate  basis  established. 


MARTI  M 
PI  A  NOS 

tAARTitvs-cos:?;.'. 


MARTI  N 
Pi  AM  OS 


'W 


MARnN  S'CowiPHNy 


MARTIN 

PIANOS 


martin  *  company 


MARTIN 

PIANOS 


nw 

l 


'V 


IWARtM*  cowPArt) 


MARTIN  PIANOS 


vhluRP/llitO 
roR.  uf#««us 

6R|U-  i  AWt  *  »n0 


NA  APTI  M 
PIANOS 


MARTIN  (rto* Atywy 


Page  Fifteen 


OF  GREAT  VALUE  TO  APPRENTICES 


PPRENTICES  should  appreciate  the  Course. 
It  makes  an  especially  strong  appeal  to  victims 
of  specialization  who  are  kept  at  one  branch  of 
trade,  and  that  not  a  very  skilful  or  lucrative 
branch.  The  prevailing  system  of  “apprentice¬ 
ship”  deadens  initiative  where  it  is  alive  and 
allows  it  to  remain  dormant  where  it  is  not  highly  developed. 


This  student  s  work  lacks  the  finish  of  more  experienced 
men  and  he  has  not  had  the  opportunity  to  use  suitable  type, 
but  his  lessons  show  that  he  has  correct  conceptions  of  how 
the  work  should  be  done.  If  he  ever  acquired  the  infor¬ 
mation  that  has  shown  him  how  to  mass  his  lines  and  deco¬ 
rations  so  as  to  produce  proper  effects,  it  would  be  after  a 
a  longsiege  of  “barnstorming”  and  much  humiliation.  With 


The  letter-head  given  here  is  a  faithful  reduction  (an  exact 
reproduction  being  impossible)  of  the  work  of  a  newspaper- 
office  apprentice,  whose  duties  had  been  confined  to  working 
on  the  bank,  pulling  proofs,  and  setting  type-lines  in  headings. 


all  that  sacrifice,  however,  he  would  not  know  whether  he 
was  right  or  wrong,  and  the  cost  in  time  and  money  would 
be  prodigious  as  compared  with  the  fee  paid  and  the  study 
expended  on  the  I.  T.  U.  Course. 


■.  *-  -- 

IMPOSITION  BY  THE  I.T.U.  METHOD 


IMPOSITION  has  been  written  about  in  text¬ 
books  without  number.  Every  novice  at  stone¬ 


work  is  done  under  the  scrutiny  of  capable  and  painstaking  in¬ 
structors,  whose  business  it  is  to  spend  time  assisting  the  student 


work  knows  of  the  nervous  manner  in  which  he  — an  attention  which  the  average  office  could  not  permit 


consulted  his  text-book  for  the  layout  of  a  form 
new  to  him.  Thousands  of  com¬ 
positors  shudder  when  thinking 


a  competent  journeyman  to  show  the  most  willing  learner. 


of  the  trepidation  that  overcame  them  as  they 
essayed  to  impose  their  first  book  form.  The 
form  laid,  a  greater  bugbear  arose  in  the 
problem  of  getting  margins  and  “allowing 
for  trim.”  In  the  rush  and  worry  of  that 
moment  what  had  been  read  in  text-books 
seemed  a  hazy  confusion  of  terms. 

When  imposition  is  learned  by  the  I.  T.  U. 
method  these  terrors  are  mitigated  to  a  great 
extent,  if  not  entirely  obviated.  The  best 
and  latest  wrinkles  are  set  forth.  The  great 
advantage,  however,  over  the  text-book 
method  is  that  the  student  is  required  to  put 
his  work  on  paper,  giving  his  margins  and 
dimensions  of  the  furniture  in  detail. 

Barring  actual  practice  at  stonework, 
nothing  could  be  superior  to  these  lessons. 
There  is  some  compensation  for  any  inherent 
disadvantages  in  the  fact  that  the  student’s 


Page  Sixteen 


If  you  know  any  print¬ 
ers  or  apprentices  who 
might  be  interested  in 
and  would  be  benefited 
by  the  Course,  do  them 
a  service  by  sending  a 
postal  containing  their 
names  and  addresses  to 
the  I.T.  U.  Commission, 

120  Sherman  St.,  Chicago,  Ill. 

And  How  About  Tour  self? 


THE  SUPREMACY 
OF  EFFICIENCY 


11  the  artificial  means 
—wise  and  unwise  — 
that  ikeTypographical 
Union  may  adopt  can 
not  saw  its  members  from 
the  effects  of  inefficiency r 
for  abiliiy  is  hound  to  over 
come  all  obstacles.  In  treat¬ 
ing  with  employers  union 
officials  find  they  can  get 
good  wages  for  capab  e  men 
as  employers  are  wi  ling  to 
buy  highly  efficient  labors 
"The  indifferent 
keep  scales  losy  and  in  t 
days  no  one  can  expeci  to  get 
more  than  the  scale  unlesshe 
studies  and  learns  and  knows 

James MLync/),  Preside n  tim 

in  an  address  to  a  focaC union 


workers 
aese 


MLuPv 

W 


